Anticipation of a More Exciting Installment

Originally, I had planned to just skip this week, due to the holiday.  But then I had a sudden inspiration for something I had started on a while back, so I’ve spent the last few days trying to put it together.  But it’s not quite done, and I don’t want to rush it.  So I think I’ll let it marinate one more week and ask you for your patience.  Can’t guarantee it’ll be worth the wait, but I can assure you it will at least be better than what I could give you this week.

Till then.

The Waning of the Year

In this time of year’s end and family coming together, I remind you of something Dean R. Koontz once wrote: “for in your family you saw, day to day, those specific things in specific people that justified, by extension, a broader love of fellow men and women.”

Hold your family close.  Because they will teach you how to love the rest of the world.

It's Christmas Time ... Again

Well, another holiday season is upon us, which means it’s time once again for me to wish you a merry christmahannukwanzaakah^* and perhaps invite you to revisit my two holiday mixes: Yuletidal Pools I and II.  Now is a time to be with family, and as much as I also love you, Constant Reader, one must always put one’s children first.

Nonetheless, I will take advantage of this time of the year, as I often do, to wish you and your family the brightest of Yuletides, Hannukahs, Christmases, Kwanzaas, Pancha Ganapatis, and even Boxing Days.  As the year winds down and a fresh one looms on the horizon, it’s a good time to reflect on what we had (or didn’t have), and what we hope for.  What I hope for is that all of us will be happier, and healthier, and more hopeful.  Perhaps it’s a bit meta to hope for hope, but I think we could all use a little right now.

Happy holidays.

__________

* As always, ™ Jon Sime.

Phantasma Chorale II

"Her Fatal Charm"

[This is one post in a series about my music mixes.  The series list has links to all posts in the series and also definitions of many of the terms I use.  You may wish to read the introduction for more background.  You may also want to check out the first volume in this multi-volume mix for more info on its theme.

Like all my series, it is not necessarily contiguous—that is, I don’t guarantee that the next post in the series will be next week.  Just that I will eventually finish it, someday.  Unless I get hit by a bus.]

I often say that volume II of a mix usually consists of the tracks that wouldn’t fit on volume I—and there’s a bit of that going on here, admittedly—but it’s also sometimes the case that volume II is an opportunity to broaden horizons.  Many mixes are inspired by a few core artists, and so volume I tends to feature them quite heavily.  But then volume II is our chance to stretch out ... to feature those artists again, sure, but with fewer examples, and to include more, and more varied, tracks to showcase the breadth of the theme.  Last time for Phantasma Chorale, we concentrated on the Coraline soundtrack (which after all was the primary inspiration for the mix), with a whopping 3 tracks from that excellent outing by Bruno Coulais; this time we use only one.  Two tracks each last time from the Beetlejuice soundtrack, the Four Rooms soundtrack, and French sometime-soundtrack artist Xcyril, plus one from the soundtrack for The Da Vinci Code, and out of all those, only Beetlejuice is back for more, and with, again, only a single track.  Of course, both City of Lost Children and Mirrormask soundtracks contribute one song each on both volumes, so we’re not completely scaling back, and, when it comes to Harry Potter soundtracks, we’ve gone from one to two (although from two different movies).  But, still, this is a distillation of the core so that we can make room for spreading out in new directions.

When it comes to those familiar soundtracks, “You Know I Love You” by Coulais from Coraline is a particularly spare, haunting one that I’m surprised I managed to restrain myself from including last time; the Beetlejuice selection, ”‘Sold’” by Danny Elfman, is a pretty (if mildly creepy) little bridge to our closer; Angelo Badalamenti’s “L’Anniversaire d’Irvin” (from City of Lost Children) sounds like abandoned carnival music as played on a toy musicbox; “Conjuring a Dome” (by Iain Bellamy, from Mirrormask) is just as trippy and dreamlike as most of that movie’s music is; Nicholas Hooper gives us a chorus of formless vocals in “Dumbledore’s Foreboding,” off Harry Potter and the Half-Blood Prince; and John Williams, the O.G. Harry Potter soundtrack composer, showcases his mischievous side with the classic “Double Trouble” (from Prisoner of Azkaban).  So a lot of on-the-nose choices, given what we came to expect from last time.  I brought in a few new soundtracks, too: “Secret Room” is off the Dark Shadows soundtrack (that is, the music for the original TV series, not the Tim Burton movie remake), and “Lothlórien / Lament for Gandalf” is from The Fellowship of the Ring.  The former, by Robert Cobert, is a creepy bit of neoclassical that showcases the best of late-60s television music; the latter, by powerhouse movie composer Howard Shore, uses more wordless vocals to take us on a journey through wonder, grief, and mysticism.

But perhaps the most interesting soundrack tune here is “Twisted Nerve,” by Bernard Hermann.  While it’s most familiar to modern audiences as the tune Daryl Hannah’s character in Kill Bill whistles in the hospital as she’s hunting the Bride, it’s originally from a movie of the same name from 1968, in which a creepy young man pretends to be deveopmentally disabled in order to get close to a young woman he fancies (played by The Parent Trap’s Hayley Mills) and then goes on a killing spree.  Hermann’s main theme starts out as an almost jaunty whistling that soon turns genuinely menacing.  It’s a musical portrait of a dream turning into a nightmare, and I thought it made the perfect opener here.

I haven’t forgotten the gaming music either.  For actual videogame music, I went with the theme from Arkham Asylum, as reinterpreted by the London Philharmonic.  They actually have several entire albums of them playing videogame themes,¹ and they’re pretty cool.  It tends to elevate the the game music to give it a broader, more sweeping and dramatic impact ... although, honestly, even the original in this case is pretty breathtaking.  Certainly it has the full creepy going on, though perhaps it’s a bit lacking on the child-like aspect.  But that’s okay: I’ll make up for it with returning champs Midnight Syndicate and Nox Arcana, who contribute two tracks each.  From MS, “Dusk” is the perfect bridge into “Arkham Asylum”: it’s a creepy build-up, some howling winds, and then bam.  “Room 47” has more of a haunted house vibe, but the spooky musicbox motif in the middle is what earns it its place here.  NA, on the other hand, gives us “Labyrinth of Dreams,” which is all spooky musicbox right from the jump, plus the formless vocals to back it up.  It’s the soundtrack to walking through a dark forest while being stalked by a big, bad wolf.  Finally, “Once Upon a Nightmare” (from the same album, Grimm Tales) is almost a companion piece; here, the musicbox-style opening is almost immediately swallowed up by those wordless vocals and then a very dramatic neoclassical piece featuring timpani and chimes.

While I wanted to step away from the Four Rooms soundtrack, I didn’t want to omit Combustible Edison entirely, so I went with “Les Yeux sans visage” (which is French for “eyes without a face,” I believe), which uses a slow organ and cymbals motif to break up two quite carnival-esque sections.  And, speaking of carnival-esque, while I had nothing quite like last volume’s “Oompa Radar,” “Rue de Moorslede,” from late-80s German synthpop band Camouflage, is a similar (if much shorter) track that makes a nice bridge to the volume’s back half.  And, since volume I included a track which reminded me of the theme from the original Star Trek, I decided I needed one of those here as well.  “Ritual of the Torches,” by exotica artist Frank Hunter, is surely more upbeat than last volume’s “U Plavu Zoru,” but that only hits the carnival vibe that makes it work here all the better.

And we couldn’t have a volume of the mix without some offbeat neoclassical and a Dead Can Dance tune.  For the former, I went with Amber Asylum;² “Heckle and Jeckle” is a weird little tune that almost sounds carnival-like ... except a bit off.  Which of course works perfectly here.  For the latter, I’ve always liked “Anywhere Out of the World”—it’s possibly my favorite track off Within the Realm of a Dying Sun³—and I think it works brilliantly here: the bell-like intro (which might just be synth, or maybe something more like a glockenspiel), the pipe-organ-like bass drone that then sweeps in, and Brendan Perry’s excellent baritone vocals ... just gorgeous.  “Maybe it’s easier to withdraw from life,” he sings, “with all of its misery and wretched lies.” A very dark tune, but it still works here thanks to the bell-like counterpoint running through it (and another lyric provides our volume name).

Phantasma Chorale II
[ Her Fatal Charm ]

“Twisted Nerve” by Bernard Herrmann [Single]
“Anywhere Out of the World” by Dead Can Dance, off Within the Realm of a Dying Sun
“Labyrinth of Dreams” by Nox Arcana, off Grimm Tales
“L'Anniversaire d'Irwin” by Angelo Badalamenti, off The City of Lost Children [Soundtrack]
“Ararat Legong” by David Parsons, off Ngaio Gamelan
“Double Trouble” by John Williams, off Harry Potter and the Prisoner of Azkaban [Soundtrack]
“Room 47” by Midnight Syndicate, off Gates of Delirium
“You Know I Love You” by Bruno Coulais, off Coraline [Soundtrack]
“Ritual of the Torches” by Frank Hunter, off The Exotic Sounds of Tiki Tribe [Compilation]
“The Secret Room” by Robert Cobert, off Dark Shadows, Volume 1 [Soundtrack]
“Dumbledore's Foreboding” by Nicholas Hooper, off Harry Potter and the Half-Blood Prince [Soundtrack]
“Rue de Moorslede” by Camouflage, off Methods of Silence
“Heckle and Jeckle” by Amber Asylum, off Frozen in Amber
“Les Yeux sans visage” by Combustible Edison, off Schizophonic!
“Once Upon a Nightmare” by Nox Arcana, off Grimm Tales
“End of May” by Keren Ann, off Not Going Anywhere
“Conjuring a Dome” by Iain Ballamy, off Mirrormask [Soundtrack]
“Teach Me How to Drown” by Unto Ashes, off Moon Oppose Moon
“Dusk” by Midnight Syndicate, off Vampyre: Symphonies from the Crypt
“Arkham City (Main Theme)” by London Philharmonic Orchestra, off The Greatest Video Game Music, Vol. 2
“"Sold"” by Danny Elfman, off Beetlejuice [Soundtrack]
“Lothlórien / Lament for Gandalf” by Howard Shore, off The Lord of the Rings: The Fellowship of the Ring [Soundtrack]

Total:  22 tracks,  72:44

There’s not a huge number of unexpected tunes here, but perhaps the most such is “End of May” by Keren Ann.  We’ve seen her before, but typically in a more upbeat context.⁴  Still, the anti-folk Dutch singer can go a bit darker when the mood strikes her,⁵ and this one is just the right balance of innocence and menace to work perfectly here.

Unto Ashes is more known for goth and darkwave, but I always thought “Teach Me How to Drown” had a weirdly light counterpoint going on (probably the bells thing again).  It almost plays like a super dark nursery rhyme.  And, finally, we have a track off of David Parson’s Ngaio Gamelan, which is primarily electroworld, but there’s just something about “Ararat Legong” that harkens back to that Star Trek sound: there’s ghostly, wordless vocals, echoey percussion, and rapid trills on something in the xylophone family, and it all comes together to form a beautiful track which fits quite nicely on this mix.

Next time, let’s take a walk on the angry side.

⇐ Phantasma Chorale

Phantasma Chorale III ⇒

__________

1 One of which I used on Paradoxically Sized World II.

2 We heard from AA on Shadowfall Equinox I and II, as well as Eldritch Ætherium I.

3 Other tracks off this album that I’ve used include “Xavier” (on Dreamscape Perturbation I), “In the Wake of Adversity” (on Penumbral Phosphorescence I), and “Windfall,” which was on our last volume.

4 Such as Sirenexiv Cola.

5 Such as on Wisty Mysteria II.

Witchlight Wild Launch

This week my youngest (not quite yet 10 years old) officially started her first D&D campaign (the Witchlight campaign, which I alluded to in a previous post).  She’s very excited about it.  And, so far, she’s doing a great job, youth and limited familiarity with the voluminous rules notwithstanding.

As I mentioned previously, I’m going with my dinosaur-person.  Our middle child (who I still sometimes refer to as “the Smaller Animal,” even though he’s now a good bit taller than me) is being a sort of a blob-like creature called a plasmoid.  Meanwhile, the youngest is running a character to help us out who is a small mouse-person called a jerbeen.  So our party looks something like this:

So far, we’ve met each other (which was fairly entertaining), and then we found the Witchlight Carnival and met its proprietors, Mr. Witch and Mr. Light (naturally).  Our first mission is to find a missing pink unicorn.  Should be a piece of cake.

I’m pretty excited for the adventure, and I’m excited to see what modifications the girl will make to the published adventure.  Changing things up to suit yourself or your players is pretty standard for experienced DMs, but newbies often try to run the adventure exactly as written.  But our girl has already thrown in several of her own touches (I know this because she proudly announces it whenever she does so).  So I’m excited to see where things go from here.

A more extensive post next week, and more news from the Witchlight trail as I have it.

Research and (Personal) Development

It seems as though it’s become fashionable to make fun of people who say they want to “do their own research.” Every late night host that I watch has done this bit, and I’m sure you’ve heard people doing it on television, online, around the Thanksgiving table ... probably pretty much everywhere.  This bugs me a bit.  I understand why people do it: they’re trying to combat a lot of ignorance and misinformation out there regarding the COVID-19 vaccines, and sometimes it requires extreme measures.  But I still think this is the wrong approach, for a few reasons.

First of all, it’s completely making fun of people for the wrong thing.  I’m not actually opposed to making fun of people who are still claiming they’re going to do their own research on the vaccine.  But don’t make fun of them for wanting to do the research ... make fun them for taking so damned long.  It’s been a fucking YEAR people!  Look, I’m one of the people who said they wanted to do their own research, so, you know what I did?  I did my own fucking research.  It didn’t actually take that long.  The information is out there, easily available, and it comes from multiple sources so you can cross-check accuracy.  At the end of my research, guess what I discovered?  That the vaccines might not be perfect, but they’re WAY better than the alternative.  So I completed my research and then I went out and got vaccinated.  Now it’s a year later and anyone who’s still claiming they’re going to do their own research is full of shit.

Now, there’s also a contingency of folks out there who are pointing out that making fun of people is not really going to change anyone’s mind.  Oddly enough, pointing out to people how stupid they are doesn’t immediately make them want to listen to what else you have to say ... go figure.  While I’m sensitive to this line of reasoning, I also think that it’s probably too late to try to change the minds of folks like these.  And I suspect all those late night hosts have come to the same conclusion.  Still, even though I appreciate this, and I also make fun of those people (if for a slightly different reason), I do have to admit that there’s a certain amount of self-indulgence going on here.  A certain amount of wink wink, nudge nudge, it sure is fun to share a joke with another superior human being about how superior we are to those other inferior human beings, eh?  There are probably better ways to expend the effort.

But the biggest reason that it bugs me to make fun of people for wanting to do their own research is that it seems like it’s sending a very weird message ... a message that’s exactly the opposite of what we really should be sending.  The people who want to do their own research are the ones who don’t want to believe everything they hear on TV, after all.  So, I guess the message that Stephen Colbert and Trevor Noah are trying to send me is, just shut up and believe whatever I tell you ... ?  But, see, that’s exactly what got the idiots into trouble in the first place: just blindly believing what some idiot on Fox “News” told them.  So I don’t really think encouraging blind trust in whoever is “smart” enough to get their own TV show is really the message we want to put out into the universe.

It’s a weird feature of the echo chamber that most of us live in these days that we are constantly bombarded by people saying “don’t believe what that idiot told you just because they’re on TV!” and then they expect us to believe them when they say that for exactly that reason.  And what’s weirder is that we do, for the most part.  And what is perhaps the weirdest (and saddest) of all is that we perceive absolutely no irony in this cycle that we’re locked into.

I see a weird parallel with the Republican party’s current trajectory.  See, I’ve long said that the number one threat to our democracy is gerrymandering.  The use of judicious gerrymandering makes it so that Republicans don’t have to appeal to Democratic voters (nor Democrats to Republican voters): the majority of Congressional districts are “safe” ones, where there is essentially zero chance of the other party winning.  The only thing these politicians have to worry about is being “primaried”—that is, being beaten by another member of their own party during the primary.  This has a tendency to push the Republican districts to the far right and the Democratic districts to the far left ... even though neither extreme actually represents the majority of the voters.  This is absolutely a problem with the Democrats too, but the reason I think it’s a bigger problem on the Republican side is that (as I mentioned in one of my isolation reports) the Republicans are not only no longer the majority party in our country, they’re not even #2: there are now more independent voters than Republicans.  So I find the Republican use of this machinery even more offensive, because they’re using it to enforce minority rule—literally subverting democracy.

And recently I heard someone on television pointing this out and saying that it really needed to be addressed.  Except that person wasn’t a Democrat.  It was Chris Christie, a prominent Republican, and one of the few who is currently unafraid to oppose Trump (and actually ran against the man in 2016, although he certainly did spend a fair amount of time kissing his butt in the interim).  I found it weird at first to hear my opinions coming out of the mouth of someone whose party would almost surely suffer if the ideas were implemented, but then it occurred to me that perhaps this man recognizes the echo chamber trap too.  Perhaps the irony that we’re all so bad at perceiving is not lost on him.  I mean, maybe he also believes that drawing the district lines in an unbiased way would be good for democracy.  I mean, that’s not how I thought Republicans were supposed to think ... but then that’s just my echo chamber talking.

I’m glad that Noah (and, to a lesser extent, Colbert) are really making an effort to get more people who are opposed to their point of view on the show.  I always thought Jon Stewart was the best at this: the delicate dance of “I’m going to force you to come out and say that you really believe the bullshit you’ve been spouting, or else categorically deny it” without descending into mean-spiritedness.  I don’t know that Colbert has the knack, as much as I adore the man for his other qualities.  Noah has potential, but I really think he’s just now starting to flex.  It’s not like there’s been more Republicans on The Daily Show recently than Democrats, but certainly more than there used to be: Kristen Soltis Anderson, Dan Crenshaw, and the aforementioned Chris Christie, all in the past month.  I look forward to seeing more discussions like those.  Maybe more breaking out of our respective echo chambers is exactly what we need.

The facts of the blog

You know, I was going to do a partial post this week, but I got sucked into a personal project that took up all my time today.  So, it’s very sad for you, but I personally feel like I got some shit accomplished.  You take the good, you take the bad, you take ’em both, and there you have: my blog.

Next week: less bad, more good.  Hopefully.

Incanto Liturgica I

"After the Clouds"

[This is one post in a series about my music mixes.  The series list has links to all posts in the series and also definitions of many of the terms I use.  You may wish to read the introduction for more background.

Like all my series, it is not necessarily contiguous—that is, I don’t guarantee that the next post in the series will be next week.  Just that I will eventually finish it, someday.  Unless I get hit by a bus.]

Once, at work, we were talking about how all bagpipe music was terrible.  I pointed out that, no, everyone just thinks all bagpipe music is terrible because 99% of the time, the only time you hear a bagpipe is when it’s accompanied by other bagpipes.  Few instruments will sound their best without a little counterpoint.  I was then challenged to play some “good” bagpipe music.  Easy, I said.  I then proceeded to play several things from my collection, concentrating mostly on Skyedance, of course.¹  People expressed surprise that I could so easily come up with such a “random” category of music.

I said: oh, I can pretty much come up with anything.  Give me a category—any category.²  One of my co-workers, being a complete smartass, said “okay, how about Gregorian chants?”

But, you see, this is child’s play, because Enigma is a thing.  The Germans, in fact, are quite enamored of setting Gregorian chants to hip-hop beats: in addition to Enigma, there’s E Nomine, and the a-bit-too-on-the-nose Gregorian.  Not to mention geographically nearby Era (from France), and the inevitable host of Enigma soundalikes, such as Bella Sonus (from the US).  But it was the distinctly non-Enigma stylings of Candian-bred Delerium that actually led to the mix that would enable me to play even more (and an even wider variety of) Gregorian chant music than I could do for bagpipes.

You may remember our initial introduction to Delerium from Shadowfall Equinox III, where I pointed out that they were really hard to pin down in terms of style.  I reiterated that when we saw them again on Apparently World, which you may already realize is a pretty big jump, stylistically.  But it was their track “Remembrance” that demonstrated to me that they too, could do the Gregorian chant thing, with arguably even more style and panache than their predecessors.  And so this became the mix starter: a track with elements of dark ambient, worldmusic, trip-hop, and, yes, that same bizarre combination of Gregorian chant set to hip-hop beat that Enigma first made famous.

The great thing about even just the bands I’ve mentioned, who all concentrate on Gregorian chants, is the wide variety of styles they bring.  For Enigma, I went with the über-classic “Mea Culpa”—with its long fade-in, it makes a great volume opener—and that track has an ambient, new age feel to it.  E Nomine’s “Das Abendmahl” has more of an industrial, techno energy to it.  Meanwhile, “Reborn” by Era has almost a poppy ambience, and even has intelligible English lyrics.  Then we have “Arcane Voices” by Amethystium, which is a Norwegian project with similar aspirations to those of Delerium.  This track is perhaps halfway between “Mea Culpa” and “Remembrance”: it has some ethereal qualities, but overall a neoclassical vibe with touches of dreampop and trip-hop.

But, hey: while Gregorian is great, and it was undeniably the inspiration for this mix, there really is no need to limit ourselves to only one kind of chant.  Most cultures have some form of this musical style, and it often carries a religious aspect.  “Incanto” in Latin means “I chant”; in Italian, it’s come to mean something closer to incantation: a spell, an enchantment.  “Liturgy,” of course, indicates a public service of worship; it’s often associated with the Catholic church, especailly the sacrament of the communion, but it can really mean any worship service, in any religion.

Of course, that Latin chanting that is common in Catholic services can be pretty cool when set to music too.  For the purest form of this, I went back to Hans Zimmer’s soundtrack to The Da Vinci Code,³ and then to the ever-dependable Dead Can Dance’s remarkable album Aion,⁴ which also has a bit of a Gregorian chant feel to it if we’re being honest.  I also threw in Bulgaria’s Irfan singing in what might be Latin—it’s really hard to tell with those guys—on “Invocatio II,” and I even put all three of those right in a row for you.  As we get further and further from the standard Latin liturgical style, you get Enya’s “Cursum Perficio” later in the volume; that’s definitely Latin, and it’s definitely a chant, but it retains far less of the religious air than something like “Salvete Virgines” has.  (Also, it contains the phrase “post nubila,” which translates to our volume title.)  Going back to Dead Can Dance, “Dawn of the Iconoclast” restores the religious overtones, but I doubt it’s actually Latin, and meanwhile Adieumus’s “Cantus Inaequalis” is definitely not Latin—it’s not anything, even ... just wordless vocalizations as specified by Welsh composer Karl Jenkins.  But it certainly sounds Latinesque (the obviously Latin title helps with that mental impression), and it sounds a bit religious.  (I put all three of those right in a row for ya too.)

Our next set of three comes from the ethnomusicologists: Deep Forest’s second album features Roma chants from Hungaria, such as those found in “Marta’s Song”; Baka Beyond continues to concentrate on the chants of the Baka people from Cameroon (who inspired their name); and David Parsons, possibly most famous for his recordings of Indonesian gamelan music takes advantage of his track “Tjampuhan” to combine gamelan with what sounds like some traditional Tibetan music and possibly Tuvan throat singing.

From there we springboard to some Middle-Eastern-inspired tunes.  While the Arabic style of vocalization known as maqam is not exactly chanting, it shares many traits with it, including some religious associations (in this case Islamic rather than Catholic).  Conjure One is a project of Rhys Fulber, formerly of Delerium (the music industry can be quite incestuous); the vocals here are provided by Chemda Khalili.⁵  Shiva in Exile is another of those prolific Germans;⁶ some rando on the Internet said that the words of “Breathing” are in Kannada (a south Indian language), but who know if that’s correct or not?⁷  It is very pretty, though, and exhibits that same maqam style of “Damascus.”

Incanto Liturgica I
[ After the Clouds ]

“Mea Culpa” by Enigma, off MCMXC a.D.
“Arcane Voices” by Amethystium, off Odonata
“Invocatio II” by Irfan, off Seraphim
“The End of Words” by Dead Can Dance, off Aion
“Salvete Virgines” by Hans Zimmer, off The Da Vinci Code [Soundtrack]
“Remembrance” by Delerium, off Karma
“Envelop” by Julianna Barwick, off The Magic Place
“Tjampuhan” by David Parsons, off Ngaio Gamelan
“Marta's Song” by Deep Forest, off Boheme
“Call of the Forest [reprise]” by Baka Beyond, off Rhythm Tree
“Damascus” by Conjure One, off Conjure One
“Breathing” by Shiva In Exile, off Ethnic
“Dawn of the Iconoclast” by Dead Can Dance, off Within the Realm of a Dying Sun
“Cantus Inaequalis” by Adiemus, off Songs of Sanctuary
“Cursum Perficio” by Enya, off Watermark
“Prayer” by Era, off Reborn
“Das Abendmahl” by E Nomine [Single]
“Adventus Sortis” by Australis, off The Gates of Reality

Total:  18 tracks,  78:02

This is another tough volume to talk about anything “unexpected” in terms of tracks, but I’ll take a stab at it.  We’ve seen Australis before, on similar mixes,⁸ and their track “Adventus Sortis” is actually quite reminiscent of Delerium’s “Remembrance” and Amethystium’s “Arcane Voices,” at least musically.  But you may be surprised to hear it here, since it includes barely any chanting.  But it is there, for just a few seconds, at two points in the song.  Plus it’s really cool, and it makes a good closer, so here it is.

But the only real deviation I took was the inclusion of Julianna Barwick, whose technique of looping and layering her own wordless vocals dozens of times over (and adding not much else) creates some amazing soundscapes.  Typically her work is a bit dreamy and ambient, but I really thought “Envelop” had a bit of a sacred air, and, while of course it’s not actually chanting, it’s hard to argue that Barwick (whose approach towards music was influenced by many years of church choir) isn’t singing some sort of liturgy here.  Plus it helps tie together the initial Gregorian-heavy tunes with the world tour that follows it.

Next time, we’ll revisit the intersection of childlike and creepy.

Incanto Liturgica II ⇒

__________

1 We’ve heard from Skyedance on Numeric Driftwood and Apparently World.

2 I believe I had already warned them of the two things I would not play: country and opera.

3 We first had a track from that album on Phantasma Chorale I.

4 For a fuller description of how much I adore this album, see Smokelit Flashback II.

5 Fun fact: Chemda is “the girl” in the Keith and the Girl comedy podcast.  She got range, y’all.

6 We originally met Shiva in Exile on Shadowfall Equinox, but expanded on him in Apparently World.

7 Presumably someone from south India.

8 Such as Shadowfall Equinox IV, Mystical Memoriam I, and Candy Apple Shimmer I.